Luke Shepherd Masterclass Critique 9/10/2013

Hannah Lovato: Very pleasant, released, open sound, especially on higher passages and in your higher register. I wish there would have been as much of that same resonance in the lowest parts of your register on this piece. I noticed a little bit of swaying and weight shifting, probably as a habit of trying to be released but don't let it creep into and distract from performance. Cindy's coaching about keeping molar space helped round out the sound of your lower notes. It's a pleasure to hear you perform, continue practicing with 'korean jaw' in mind.

Taylee Beckstead: Breaths were high in the body (bucket-like) which Cindy addressed very first. The shoulders were pretty rigid and I noticed that when approaching high notes your head would tilt toward your left shoulder. You were swaying on beats and in time with the music. When Cindy held your shoulders down your tone freed up more and you had a much more open sound. Practicing finding that open posture in your upper body and letting the breaths come in naturally will help a lot.

Laekin Burgess: In the prelude I noticed that your diaphragm expanded and you had the initial appearance of a good breath. Timbre sounded restricted on some of the high notes. The next couple of breaths however became a gaspy and high in the chest. The shoulders looked a little tense and the upper body had kind of a 'forward' falling posture rather than the open, tall, relaxed posture. Your face was very expressive and I loved how your eyes were engaged in the music and the message. With Cindy's help on getting your breaths natural and your body more relaxed you had much more resonance and vibrance in your voice and a floppiness quality that was much more desirable. I would practice in weird ways like the way Cindy had you fall forward and relax your body to distract yourself from thinking too much about breathing and posture and everything else to help you find more of that resonance and vibrance in your voice.